This continuation page contains additional source-backed quotations not shown in the initial 80-quotation overview. Return to the topic guide and browse collection.
“Remember that thou art an actor in a play.”
Life is pictured as a role with conditions we did not choose, while the quality of our performance remains our responsibility.
Enchiridion 17; the longer passage compares human life with playing the role assigned in a drama.
“Demand not that events should happen as you wish; but wish them to happen as they do happen, and you will go on well.”
Peace is sought by aligning desire with reality rather than requiring reality to obey preference, a central Stoic distinction between response and circumstance.
Enchiridion, section 8; Epictetus applies Stoic acceptance to events outside personal control.
“Try to enjoy the great festival of life with other men.”
Life is pictured as something shared rather than possessed privately, joining enjoyment with participation in a wider human community.
The Golden Sayings of Epictetus, saying III, Hastings Crossley translation.
“A ship should not ride on a single anchor, nor life on a single hope.”
The image warns against making one uncertain outcome carry the whole weight of a life; resilience benefits from more than one source of meaning and support.
The Golden Sayings of Epictetus, saying XVI, Hastings Crossley translation.
“Choose the life that is noblest, for custom can make it sweet to thee.”
A demanding way of living can become more natural through practice, so character is shaped partly by the customs a person repeatedly chooses.
The Golden Sayings of Epictetus, saying XX, Hastings Crossley translation.
“Give me by all means the shorter and nobler life, instead of one that is longer but of less account!”
Length alone does not make a life better; Epictetus places moral quality and nobility above mere duration.
The Golden Sayings of Epictetus, saying IX, Hastings Crossley translation.
“The more you draw, the better. Draw everything you can.”
Repeated drawing is treated as the route to improvement, making practice and quantity of attempts part of developing a useful skill.
The Lost Prince; Project Gutenberg #384. Loristan encourages Marco to strengthen a sketching ability useful to the story’s secret mission.
“I learned well because I never forgot it. And I learned. Did I not?”
Marco looks back on deliberate training and judges himself by whether he actually learned and retained what repeated instruction required.
The Lost Prince; Project Gutenberg #384. Marco says this while explaining that his father had long been preparing him for responsibility within the fictional plot.
“To make each one many times was the best way to imbed it in his memory.”
The narration connects repeated practice with stronger recall, showing Marco deliberately using repetition to make a learned association more durable.
The Lost Prince; Project Gutenberg #384. The exercise involves repeatedly sketching faces connected with places for the novel’s secret mission.
“After a third day's concentration they knew by heart everything given to them to learn.”
The narration connects sustained concentration across several days with mastery of the assigned material rather than portraying learning as instantaneous.
The Lost Prince; Project Gutenberg #384. The material being memorized is fictional mission information, while the quoted sentence simply describes the learning process.
“It is well to observe everything and to train one's self to remember faces and circumstances.”
Observation and memory are presented as trainable abilities strengthened by deliberate attention rather than fixed talents that either appear or do not.
The Lost Prince; Project Gutenberg #384. Loristan is training Marco for a fictional diplomatic and political mission, so the advice belongs to that narrative setting.
“Another part was The Rat's training of his memory, and bringing home his proofs of advance at night when he returned from his walk.”
The Rat tracks improvement through repeated memory exercises and concrete evidence of progress, making development something practiced and demonstrated over time.
The Lost Prince, Chapter XVIII, “Cities and Faces,” Project Gutenberg #384. The narrator describes “Another part” of the boys’ secret-game preparation as The Rat training his memory and bringing home nightly proofs by describing, reciting or roughly sketching what he had observed. It remains fictional training narrative, not an experimentally established memory-training prescription.
“The game he had amused himself with so long—the game of trying to remember pictures and people and places clearly and in detail—had been a wonderful training.”
A game repeatedly practiced for pleasure becomes useful preparation, showing skill growing out of accumulated attention rather than appearing only when the stakes become serious.
The Lost Prince; Project Gutenberg #384. The narration refers to Marco’s long-running memory game, which later becomes useful inside the novel’s fictional secret mission.
“I had to try myself at the same time, of course.”
Colin explicitly adds his own effort to the encouragement he received, keeping agency and practice inside the novel’s language of 'Magic.'
The Secret Garden (1911), Chapter XXIII, “Magic.” Immediately after recalling Mary’s encouragement, Colin says that he had to try himself at the same time. The line keeps effort inside the novel’s fictional experiment/Magic rhetoric and is not clinical guidance.
“Knowledge is power.”
The maxim connects understanding with the capacity to act effectively rather than treating knowledge as decoration.
From the Latin “ipsa scientia potestas est”; common English rendering.
“Reading maketh a full man; conference a ready man; and writing an exact man.”
Bacon distinguishes what reading, conversation, and writing each contribute to intellectual development.
Of Studies; Bacon distinguishes the intellectual uses of reading, conversation, and writing within the essay’s compact account of study and judgment.
“Some books are to be tasted, others to be swallowed, and some few to be chewed and digested.”
Not every book deserves the same kind of attention; readers should match effort and depth to the value and purpose of the work.
Essay “Of Studies”; Bacon distinguishes different depths and purposes of reading.
“Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider.”
Bacon describes reading as active judgment rather than passive agreement or reflexive opposition, making careful consideration the central habit of serious study.
Of Studies, in Bacon’s instructions for how different kinds of books should be read.
“If a man will begin with certainties, he shall end in doubts; but if he will be content to begin with doubts, he shall end in certainties.”
Intellectual confidence can be improved by beginning with questions rather than pretending certainty too early.
The Advancement of Learning, First Book, Project Gutenberg #5500, transcribed from the 1893 Cassell & Company edition. Bacon contrasts impatience of doubt with mature suspension of judgment and then sets out two ways of contemplation before saying that beginning with certainties ends in doubts while beginning with doubts can end in certainties. It remains early-modern epistemological argument rather than a modern experimental rule for scientific method.
“A man may know much about educating himself, and but little about the proper means for educating others.”
Douglass distinguishes learning independently from knowing how to teach someone else. He values self-education yet cautions that overcoming personal obstacles does not automatically make a person an expert in educational institutions or instruction.
Self-Made Men, in the section considering criticisms of successful self-educated people. This wording follows the Teaching American History transcript (1872 editorial date). Douglass delivered and revised the lecture over time; the precise wording is tied to this transcript and should not be silently projected onto every manuscript version.
“Without music life would be a mistake.”
The compact declaration gives music an essential place in Nietzsche’s picture of a life worth affirming, expressing aesthetic valuation rather than a measurable claim that music is necessary for every person’s health or happiness.
The Twilight of the Idols, “Maxims and Missiles,” maxim 33, Anthony M. Ludovici translation, Project Gutenberg #52263. The maxim begins comically with the sound of a bagpipe before arriving at this sentence.
“That which does not kill me, makes me stronger.”
Nietzsche compresses endurance into a deliberately hard maxim: surviving an ordeal can leave a person with greater capacity, but the aphorism does not establish that every injury, trauma or loss is beneficial.
The Twilight of the Idols, “Maxims and Missiles,” maxim 8, Anthony M. Ludovici translation, 1911 Complete Works edition, Project Gutenberg #52263. The source introduces it as “From the military school of life.”
“If a man knows the wherefore of his existence, then the manner of it can take care of itself.”
A sufficiently clear reason for living or acting can reorganize how difficulty is endured, because purpose supplies direction before every practical detail has been solved.
The Twilight of the Idols, “Maxims and Missiles,” maxim 12, Anthony M. Ludovici translation, Project Gutenberg #52263. This is Nietzsche’s represented wording; later paraphrases such as “He who has a why…” should not be silently substituted for it.
“A man should not play the coward to his deeds. He should not repudiate them once he has performed them.”
The maxim demands ownership of deliberate action rather than retreating from one’s agency after the fact; responsibility here means acknowledging what one chose, not claiming that every past decision was wise or harmless.
The Twilight of the Idols, “Maxims and Missiles,” maxim 10, Anthony M. Ludovici translation, Project Gutenberg #52263. This record uses the first two sentences; Nietzsche immediately follows them with a more provocative remark about pangs of conscience.
“To go wrong in one’s own way is better than to go right in someone else’s.”
Razumihin values the capacity to make and correct one’s own mistakes over passive dependence on borrowed conclusions, making independent error part of an active search for truth.
Crime and Punishment, Part III, Chapter I, printed page 203 / Wikisource scan leaf 235, Constance Garnett translation in the scan-backed 1917 Harvard Classics Shelf of Fiction / P. F. Collier & Son edition, cross-checked against Project Gutenberg #2554. Razumihin argues that going wrong in one’s own way is better than going right in someone else’s while defending the role of making one’s own errors in reaching truth; it remains energetic fictional character dialogue rather than direct Dostoevsky autobiography.
“Above all, don’t lie to yourself.”
Self-deception is presented as especially damaging because it corrupts the person’s ability to recognize truth both inwardly and around them.
The Brothers Karamazov, Book II, Chapter 4, “A Lady of Little Faith,” Constance Garnett translation, verified against Project Gutenberg #28054 and Wikisource. Father Zossima tells the visitor, “Above all, don’t lie to yourself,” and develops the warning into an argument about self-deception, respect and love; this is fictional character counsel inside the novel.
“What is hell? I maintain that it is the suffering of being unable to love.”
Hell is defined psychologically and spiritually as incapacity for love, making isolation from loving action itself a form of suffering.
The Brothers Karamazov, Book VI, Chapter 3, Constance Garnett translation, verified against Project Gutenberg #28054 and Wikisource. In Father Zossima’s final conversations and exhortations, he defines hell as the suffering of being unable to love; this is explicitly Christian theological character speech inside the novel.
“I would maintain that thanks are the highest form of thought; and that gratitude is happiness doubled by wonder.”
Chesterton links gratitude with attentive perception: appreciation becomes deeper when ordinary good things are noticed with a sense of wonder.
A Short History of England, in Chesterton’s discussion of receptiveness and dependence on goods outside oneself.
“Our deeds determine us, as much as we determine our deeds”
The narrator presents character and action as reciprocal: choices express who a person is, while repeated actions also reshape the person who makes them.
Adam Bede; narrator’s reflection during the novel’s moral development, represented from Project Gutenberg #507.
“What do we live for, if it is not to make life less difficult to each other?”
A meaningful life is connected with reducing other people’s burdens, making usefulness and care central rather than peripheral.
Middlemarch, Book VIII, Chapter LXXII, Project Gutenberg #145. Dorothea asks what people live for if not to make life less difficult for one another while arguing that Lydgate’s friends should investigate the calumny against him and support him. It is fictional character dialogue inside the novel’s moral and social drama, not an empirical definition of life’s purpose.
“Something had come to replace his hoard which gave a growing purpose to the earnings, drawing his hope and joy continually onward beyond the money.”
Money changes meaning when it serves a person rather than replacing relationship; caring for Eppie gives Silas’s work a forward-looking purpose that wealth alone had failed to provide.
Silas Marner; Eliot contrasts the former hoard with Eppie, whose needs and future redirect Silas’s earnings toward hope, relationship, and practical care.
“Time is money—says the vulgarest saw known to any age or people. Turn it round about, and you get a precious truth—money is time.”
Gissing’s reflective persona reverses a familiar slogan to emphasize that enough money can purchase usable time, comfort and freedom from some forms of compulsory labor.
The Private Papers of Henry Ryecroft, Project Gutenberg #1463. The semi-fictional Ryecroft reflects on modest financial security and later warns that both too much and too little money can distort the use of time; the passage is literary reflection, not financial advice.
“What’s the good of a home, if you are never in it?”
Pooter turns his preference for staying home into a miniature philosophy, funny because the diary repeatedly treats ordinary domestic habits as matters of high principle.
The Diary of a Nobody, Chapter I, before the dated diary entries; Project Gutenberg #1026. After describing The Laurels and its back garden, Charles Pooter says “What’s the good of a home, if you are never in it?” and makes “Home, Sweet Home” his motto. The sentence belongs to Pooter’s domestic self-characterization inside diary fiction rather than a general lifestyle rule from the Grossmith brothers.
“Must get the scraper removed, or else I shall get into a scrape. I don’t often make jokes.”
The deliberately weak pun is followed by Pooter’s proud announcement that he rarely jokes, making his satisfaction with the line more comic than the wordplay itself.
The Diary of a Nobody, Chapter I, April 4 entry; Project Gutenberg #1026. After Cummings trips over the scraper while leaving, Charles Pooter writes “Must get the scraper removed, or else I shall get into a scrape. I don’t often make jokes.” The deliberately weak pun and Pooter’s pride in it are part of the novel’s characterization and comic timing.
“Science, as we often say, is the systematization of Experience under the forms of ideal constructions.”
Lewes describes science as organized experience shaped into conceptual structures, a historical philosophy-of-science claim about how observation becomes systematic knowledge.
The Physical Basis of Mind, Problem I, “The Study of Psychology,” in the discussion of modern scientific method; Project Gutenberg #60212. The wording belongs to Lewes’s 1877 framework, not current philosophy-of-science consensus.
“If goodness lead him not, yet weariness May toss him to my breast.”
Herbert’s poem imagines restlessness and weariness as forces that may turn a person toward God when abundance and comfort do not, within its specifically Christian account of human desire.
“The Pulley,” from The Temple (1633), represented by Poetry Foundation. The ending is spoken by God within Herbert’s devotional conceit and expresses Christian theology rather than a medical or psychological explanation of fatigue.
“Thou shalt die out of death into life.”
Mara reframes death as movement toward life within the novel’s Christian-symbolic world, offering transformation rather than annihilation as the imagined answer to despair.
Lilith: A Romance; Project Gutenberg #1640. Spoken by Mara to Lilith in a theological fantasy scene; it is not presented as empirical evidence about death or an afterlife.
“there must be hope while there is existence”
MacDonald grounds hope in his theology of a continuously good God, making continued existence itself evidence, within his religious argument, that despair need not be final.
Unspoken Sermons, Series Two, ‘The Last Farthing,’ Project Gutenberg #9057. ‘There must be hope while there is existence’ occurs in MacDonald's explicitly Christian argument that where existence remains there must be God, whom he describes as forever good. It is nineteenth-century theology about divine goodness and ultimate restoration, not secular prognosis or clinical mental-health evidence.
“Those who cannot remember the past are condemned to repeat it.”
Remembering earlier failures matters because retained experience can change later judgment instead of allowing the same pattern to recur unnoticed.
The Life of Reason, Reason in Common Sense; Santayana connects memory with the possibility of genuine progress.
“Happiness implies resource and security; it can be achieved only by discipline.”
Stable happiness is linked with cultivated capacity and order rather than with impulse, luck, or momentary pleasure alone.
The Life of Reason; Santayana connects happiness with disciplined resources and a secure basis for living.
“Márgarét, áre you gríeving Over Goldengrove unleaving?”
Hopkins begins with a child grieving autumn leaves and gradually widens that feeling into a meditation on human awareness of loss, change and mortality.
“Spring and Fall: to a young child,” written in 1880 and published posthumously in 1918, represented by Poetry Foundation. Margaret is the poem’s addressed child; the meditation is literary and theological rather than a clinical account of grief development.
“It is a law of nature we overlook, that intellectual versatility is the compensation for change, danger, and trouble.”
The Time Traveller proposes that changing and difficult conditions reward mental flexibility, while perfectly stable conditions reduce the need to adapt.
The Time Machine, Project Gutenberg #35. The Time Traveller states this while speculating about the evolution of the Eloi and Morlocks; it is fictional evolutionary reasoning in a nineteenth-century scientific romance, not a current biological law.
“With the first word I used intelligently, I learned to live, to think, to hope.”
Language is remembered as opening several capacities at once—thought, hope and a fuller experience of living—rather than merely adding a vocabulary item.
Optimism: An Essay (1903), Project Gutenberg #31622. Keller is reflecting on her own early experience of language and education.
“There is joy in self-forgetfulness.”
Joy can grow when attention moves away from constant self-concern and becomes absorbed in people, work, ideas, or experiences beyond oneself.
The Story of My Life; Keller links happiness with moments when self-consciousness recedes.
“Knowledge is love and light and vision.”
Knowledge is described as more than stored information: it enlarges understanding, connection, possibility, and the ability to perceive a wider world.
The Story of My Life; Keller describes education as an opening into intellectual and emotional life.
“I must think over things for myself and get to understand them.”
Nora claims the responsibility to examine received beliefs for herself, making independent thought part of her attempt to understand her own identity and circumstances.
A Doll’s House, Act III, R. Farquharson Sharp translation, Project Gutenberg #15492. Nora Helmer says she must think things over for herself during the final confrontation with Torvald, after saying she must educate herself and stand alone. This is fictional dramatic speech, not Ibsen autobiography or contemporary family / legal guidance.
“A teacher affects eternity; he can never tell where his influence stops.”
Adams emphasizes that teaching can shape later judgments and lives in ways the teacher cannot fully trace or control once students carry ideas beyond the classroom.
The Education of Henry Adams, chapter on teaching at Harvard, Project Gutenberg #2044. Adams follows the sentence by stressing the moral and philosophical difficulty of teaching history; it is a reflective claim about educational influence, not a measurable promise of permanent impact.
“How vain it is to sit down to write when you have not stood up to live!”
Thoreau connects meaningful writing with firsthand living and movement, suggesting that experience supplies material and energy that mere sitting cannot manufacture.
The Journal of Henry David Thoreau, August 19, 1851 entry, around printed page 405 in Journal II, represented by Project Gutenberg #59031. ‘How vain it is to sit down to write when you have not stood up to live!’ begins a paragraph in which Thoreau connects walking and bodily action with the flow of his own thoughts. It is dated autobiographical journal reflection and writing philosophy, not a rule that all writing requires literal standing or walking.
“To be awake is to be alive.”
Being fully attentive is presented as a deeper form of living than merely moving through routine.
Walden, “Where I Lived, and What I Lived For.”
“Morning is when I am awake and there is a dawn in me.”
Morning becomes a metaphor for inward wakefulness: a person is fully awake when attention and possibility begin again.
Walden, chapter “Where I Lived, and What I Lived For.”
“How many a man has dated a new era in his life from the reading of a book.”
Thoreau treats reading as potentially transformative: a book can mark a genuine before-and-after point when it gives language to questions a reader has struggled to express.
Walden, chapter “Reading,” in the discussion of books that can reveal new possibilities and answer enduring questions.
“Every path but your own is the path of fate. Keep on your own track, then.”
The passage favors an examined personal direction over drifting into a life selected by convention.
Walden; Thoreau contrasts one’s own deliberate track with paths chosen by others.
“A man is rich in proportion to the number of things which he can afford to let alone.”
Real richness is measured by freedom from unnecessary wants rather than by the number of possessions a person accumulates.
Walden, chapter “Where I Lived, and What I Lived For”; wealth is reframed through reduced dependence.
“However mean your life is, meet it and live it; do not shun it and call it hard names.”
Thoreau asks for direct engagement with the life actually present rather than contempt for it because it falls short of wealth, status or imagined alternatives.
Walden, “Conclusion,” Project Gutenberg #205. The sentence opens a passage urging the reader to “Love your life, poor as it is” and noting that a quiet mind may live contentedly even in materially poor circumstances. It is not an argument that poverty or injustice should never be changed.
“What a man thinks of himself, that it is which determines, or rather indicates, his fate.”
Thoreau argues that private self-judgment can become a powerful constraint or permission, shaping choices more strongly than public opinion alone.
Walden, “Economy,” in the passage contrasting public opinion with a person’s own private opinion of himself.
“Books are the treasured wealth of the world and the fit inheritance of generations and nations.”
Books preserve thought across generations, allowing intellectual and cultural inheritance to travel farther than the lives of individual writers and readers.
Walden, Reading chapter; Thoreau describes enduring books as a form of inherited cultural wealth.
“Could a greater miracle take place than for us to look through each other’s eyes for an instant?”
Thoreau imagines perspective-taking as a radical expansion of experience: seeing even briefly from another person’s position can expose how narrow one’s own habitual viewpoint is.
Walden, “The Bean-Field,” Project Gutenberg #205. Thoreau follows the question by imagining living through other ages and worlds in an hour; the passage is about the variety of human experience and the limits of judging what another life can contain.
“If a man does not keep pace with his companions, perhaps it is because he hears a different drummer.”
Different timing or choices do not automatically mean failure; an individual may be responding to values others cannot hear.
Conclusion of Walden; Thoreau argues for following one’s own measure and direction.
“In Wildness is the preservation of the World.”
Wild nature is presented not as useless space but as a preserving force for imagination, freedom, and human flourishing.
Essay “Walking”; Thoreau links uncultivated nature with renewal and human vitality.
“To live is to correspond, and to correspond is to live.”
Drummond expresses his view that life depends on active relation with an environment, then uses that idea as an analogy within his Christian account of spiritual life.
Natural Law in the Spiritual World, represented by Project Gutenberg #23334. The sentence belongs to Drummond’s nineteenth-century attempt to analogize scientific language and Christian theology. It is retained as historical religious-philosophical argument, not a current biological law.
“Rest, that is to say, is not a thing that can be given, but a thing to be acquired.”
Drummond treats inward rest as a condition developed through changed habits and spiritual orientation rather than something another person can simply hand over.
Pax Vobiscum, represented by Project Gutenberg #9373. The sentence appears in Drummond’s Christian practical-theology discussion of rest and peace; its religious causal framework is historical devotional argument rather than clinical psychology.
“It is a trite but true observation, that examples work more forcibly on the mind than precepts.”
Fielding’s narrator argues that visible examples of conduct can shape imitation more powerfully than abstract instruction alone.
Joseph Andrews, Book I, Chapter I, Project Gutenberg #9611. Fielding opens his narrator’s discussion of exemplary lives by observing that examples work more forcibly on the mind than precepts, then develops the claim through imitation and the moral purpose he assigns to writing. It is eighteenth-century literary argument, not a modern experimental finding about learning.
“It is much easier to make good men wise, than to make bad men good.”
Fielding distinguishes correcting the judgment of basically well-intentioned people from trying to reform people whose conduct is fundamentally committed to wrongdoing.
The History of Tom Jones, a Foundling, concluding authorial reflection, Project Gutenberg #6593. Fielding explains one of the novel’s stated moral aims: prudence can protect virtue from traps that deceit and indiscretion create.
“Live all you can; it’s a mistake not to. It doesn’t so much matter what you do in particular so long as you have your life.”
Strether urges a younger man not to let caution consume the opportunity to experience life, speaking from his own painful sense of what he postponed or missed.
The Ambassadors, Book Fifth, Chapter II, Project Gutenberg #432. Strether tells little Bilham “Live all you can; it’s a mistake not to” during the Gloriani-garden conversation, speaking from regret about opportunities he believes he missed. James’s own Preface identifies this speech as central to the novel, but the line remains fictional character dialogue rather than James autobiography or universal life advice.
“If I have seen farther, it is by standing on the shoulders of giants.”
Newton credits earlier and contemporary intellectual work as part of what made his own advances possible, framing discovery as cumulative rather than wholly solitary.
Newton to Robert Hooke, Cambridge, February 5, 1675/76, represented by the Newton Project normalized transcription. The historical letter uses older spelling; this record follows the project’s normalized “farther” and “shoulders of giants” wording.
“I am gaining health daily, and almost live in the open air.”
Bird reports that outdoor travel coincided with her feeling progressively better, presenting the statement as personal experience rather than a prescription for others.
The Hawaiian Archipelago, represented by Project Gutenberg #6750. Bird writes in the first person about her own condition and outdoor life in Hawaiʻi. The historical self-report is not medical advice and does not establish that travel or open air will treat another person’s illness.
“I am not young enough to know everything.”
Barrie reverses the cliché that age brings complete wisdom, making youthful certainty—not age—the comic claim to omniscience.
The Admirable Crichton, Act I, Project Gutenberg #3490. Ernest Woolley repeatedly delivers “I am not young enough to know everything” as a self-consciously clever epigram while Agatha, Treherne and the others struggle to understand it; Crichton later says he has no idea what Ernest meant. It remains fictional comic dialogue rather than J. M. Barrie autobiography or a factual claim about age and knowledge.
“There is an ecstasy that marks the summit of life, and beyond which life cannot rise.”
London’s narrator describes Buck’s intense absorption in movement and instinct as a peak state of aliveness within the novel’s imaginative account of the animal’s experience.
The Call of the Wild, Project Gutenberg #215. The sentence introduces a passage about Buck leading the pack and is literary narration that also compares artistic and martial absorption; it is not a scientific definition of peak experience.
“Growth is life, and life is for ever destined to make for light.”
The narrator uses the wolf cub’s urge to leave the cave as a metaphorically charged picture of growth pushing living things toward wider experience despite fear and restraint.
White Fang, Part II, Chapter IV, ‘The Wall of the World,’ Project Gutenberg #910. The narrator says ‘Growth is life, and life is for ever destined to make for light’ as the grey cub disobeys fear and moves toward the cave opening. It remains literary animal-development narration and metaphor rather than a modern biological, developmental or behavioral law.
“my hopes rose high that somewhere in this teeming hive there would be a place for me.”
Looking back on arrival in New York, Riis remembers hope that even an overwhelming city might contain a place where he could begin a life.
The Making of an American, represented by Project Gutenberg #6125. This clause is retained from Riis’s first-person immigrant autobiography as he recalls arriving in New York; it is personal retrospective narrative rather than a general claim about immigration outcomes.
“If any of you lack wisdom, let him ask of God, that giveth to all men liberally.”
The verse treats wisdom as something worth actively seeking and asking for rather than assuming one already possesses enough.
James 1:5, King James Version.
“Dream lofty dreams, and as you dream, so shall you become.”
Ambitious ideals can shape development when they influence what a person practices and pursues.
As a Man Thinketh, “Visions and Ideals.”
“Circumstance does not make the man; it reveals him to himself.”
Circumstances can expose habits of thought and character that were already present, turning difficulty into information about what needs attention or change.
As a Man Thinketh; Allen uses circumstance as a mirror for character and habitual thought.
“Until thought is linked with purpose there is no intelligent accomplishment.”
Purpose gives thought a direction, turning ideas into a standard for choosing and completing useful work.
As a Man Thinketh, “Thought and Purpose.”
“Life is ever unfolding from within, and revealing itself to the light.”
Allen treats outward conduct as an expression of inward patterns, so durable change requires attention to the thoughts and motives repeatedly cultivated within.
Out from the Heart, opening section; Allen develops the metaphor of life unfolding from the hidden conditions of the heart and mind.
“Let a man realize that life in its totality proceeds from the mind, and lo, the way of blessedness is opened up to him!”
Allen’s idealist claim makes mental discipline central to change, proposing that recognizing the role of thought can open a more deliberate way of living.
Out from the Heart; the sentence introduces Allen’s argument that ruling the mind changes one’s relation to conduct and experience.
“One by one they were all becoming shades.”
Gabriel’s thoughts widen from one dead young man to the mortality of everyone around him, preparing the story’s final meditation on memory and the living and dead.
“The Dead,” in Dubliners, Project Gutenberg #2814. The line belongs to Gabriel Conroy’s interior reflection after Gretta tells him about Michael Furey; it is fictional free-indirect narration.
“We have all a better guide in ourselves, if we would attend to it, than any other person can be.”
Inner judgment can be more reliable than social pressure when a person has reflected carefully and understands the circumstances firsthand.
The novel contrasts outside pressure with the value of attending to one’s own judgment.
“I must learn to brook being happier than I deserve.”
The line combines joy with humility: Wentworth recognizes that his renewed happiness exceeds what his earlier pride and mistakes make him feel he has earned.
Persuasion, Chapter XXIII. Captain Frederick Wentworth says this to Anne Elliot while reflecting on the six years of separation his pride helped prolong.
“She had been forced into prudence in her youth, she learned romance as she grew older: the natural sequel of an unnatural beginning.”
The narrator summarizes Anne’s development as a reversal: excessive caution shaped her early choice, while experience later teaches her to value warmer confidence and attachment.
Persuasion, Chapter IV, Project Gutenberg #105. This is narrator commentary after Anne reconsiders the engagement she ended at nineteen under Lady Russell’s persuasion.
“Angry people are not always wise.”
Strong emotion can narrow judgment, so being certain while angry is not the same as being correct.
Pride and Prejudice; the line is preserved in the novel’s dialogue about anger, judgment, and the limits of certainty while emotions are high.
“I declare after all there is no enjoyment like reading!”
The line is memorable as praise of reading, though its comic context matters because Miss Bingley says it while performing interest for Darcy.
Pride and Prejudice, Chapter 11; context is ironic.
“For what do we live, but to make sport for our neighbours, and laugh at them in our turn?”
Mr. Bennet’s joke treats social observation as reciprocal: everyone is somebody else’s entertainment, including the people doing the laughing.
Pride and Prejudice, Chapter 57; Mr. Bennet comments on the absurd rumour concerning Elizabeth and Darcy.
“Know your own happiness. You want nothing but patience—or give it a more fascinating name: call it hope.”
Happiness can depend less on dramatic change than on recognizing what is already possible and waiting without giving up.
Sense and Sensibility.
“Love is like the measles; we all have to go through it.”
Romantic love is compared to an unavoidable childhood illness, making intense emotion comic by treating it as something people catch, endure, and eventually recover from.
The Idle Thoughts of an Idle Fellow, “On Being in Love”; the comparison opens the essay’s mock-medical treatment of romance.
“A boy’s love comes from a full heart; a man’s is more often the result of a full stomach.”
The contrast punctures mature romantic eloquence by suggesting comfort and appetite can masquerade as passion, while youthful awkwardness may reveal more direct feeling.
The Idle Thoughts of an Idle Fellow, “On Being in Love”; the narrator contrasts youthful shyness with the polished declarations of older men.
“Life is brief, and you might pass away before I had finished.”
The narrator uses mortality to excuse not listing his countless imagined diseases, turning a serious phrase about short life into an absurdly practical time-saving joke.
Three Men in a Boat, Chapter I; spoken by the narrator to his doctor before he explains the one ailment he believes he does not have.
“Montmorency’s ambition in life, is to get in the way and be sworn at.”
The narrator gives the dog a mock life-purpose centered on obstruction and provoking people, turning ordinary pet mischief into a grand statement of ambition.
Three Men in a Boat, packing episode; the narrator describes Montmorency repeatedly inserting himself into whatever the men are trying to pack.
“A dog like that don’t want any encouragement. It’s the natural, original sin that is born in him that makes him do things like that.”
The mock-theological explanation treats ordinary canine mischief as inherited moral corruption, exaggerating the dog’s nuisance behavior into a theory of original sin.
Three Men in a Boat, packing episode; the narrator rejects Harris’s claim that he encourages Montmorency’s disruptive behavior.
“But ask now the beasts, and they shall teach thee; and the fowls of the air, and they shall tell thee:”
Job points toward animals and birds as objects of instruction, suggesting that observation of living nature can challenge narrow human assumptions.
Job 12:7, King James Version; Job appeals to creatures and the earth as witnesses within his argument about divine power and human understanding.
“Experience is primarily an active-passive affair; it is not primarily cognitive.”
Dewey treats experience as a combination of doing and undergoing consequences, with understanding developing through the relationship between action and what follows from it.
Democracy and Education (1916), Chapter XI, “Experience and Thinking.” Dewey describes experience as a relation between doing and undergoing consequences, then immediately qualifies the active-passive formulation by saying that valuable experience includes cognition insofar as relationships and continuities are perceived. Verified against Project Gutenberg #852 and the scan-backed Wikisource Chapter XI transcription. The sentence is not a denial that cognition matters and is not presented as modern neuroscientific evidence.
“The thinker has to decide, to choose; and there is always a risk.”
Choosing among plausible interpretations necessarily involves uncertainty, so sound thinking requires a cautious selection that remains open to confirmation or correction by later events.
How We Think (1910), Chapter VIII, “Judgment: The Interpretation of Facts,” section 1, printed page 106, Project Gutenberg #37423. Dewey says the thinker must choose among candidate meanings for a perplexing situation and therefore accepts risk; the prudent thinker selects warily and remains answerable to later confirmation or frustration. This is part of Dewey’s historical educational/logical account of reflective judgment, not a modern decision-science finding.
“The judgment when formed is a decision; it closes (or concludes) the question at issue.”
Reflective judgment is not endless suspension: Dewey describes it as the point at which a particular uncertainty is concluded in a way that can also inform later judgments.
How We Think (1910), Chapter VIII, “Judgment: The Interpretation of Facts,” section 1, printed page 107, Project Gutenberg #37423. Dewey identifies a formed judgment as a decision that closes the issue at hand and may help establish a method for analogous later cases. The statement belongs to his early-twentieth-century theory of reflective judgment rather than current clinical, neuroscientific or experimentally settled cognitive science.
“Love has no age, no limit, and no death.”
Irene answers an older man’s skepticism by insisting that love is not confined by age and does not simply vanish when a person or relationship passes away.
Indian Summer of a Forsyte, represented in Project Gutenberg #2594. Irene says the line to old Jolyon while speaking about her dead lover; it is emotionally charged fictional dialogue, and the surrounding conversation immediately gives old Jolyon a more ironic response.
“For of all sad words of tongue or pen, The saddest are these: “It might have been!””
Whittier compresses regret into the imagined alternative life: both Maud and the Judge later measure their ordinary lives against a possibility neither chose when they briefly met.
“Maud Muller,” in The Works of Whittier, Volume I, Project Gutenberg #9567. The poem first shows both characters imagining the life they might have shared, then calls “It might have been” the saddest formulation before ending with a separate note of hope.
“A thing of beauty is a joy for ever.”
Keats opens the poem by claiming that beauty can continue to give delight beyond the instant in which it is first encountered.
Endymion: A Poetic Romance (1818), Book I, line 1, Project Gutenberg #24280, reproducing the Taylor and Hessey 1818 text. “A thing of beauty is a joy for ever” opens the poem’s mythic Romantic meditation on beauty; the statement remains a poetic proposition rather than empirical evidence that every aesthetic experience produces permanent happiness.
“Its loveliness increases; it will never pass into nothingness”
The continuation imagines beauty as something whose value can deepen in memory and imagination rather than simply fading with the moment.
Endymion: A Poetic Romance (1818), Book I, lines 2–3, Project Gutenberg #24280. “Its loveliness increases; it will never / Pass into nothingness” directly continues the opening “A thing of beauty” claim inside Keats’s idealizing Romantic account of beauty and imagination; it is poetry, not an experimentally established law of aesthetic memory or wellbeing.
“This is true freedom, a good practical sort of immortality.”
Muir describes freedom as absorption in immediate natural experience, where ordinary anxiety about saving time temporarily loses its force.
My First Summer in the Sierra, June 13; the sentence follows his reflection on not hurrying like the trees and stars.
“All books are divisible into two classes, the books of the hour, and the books of all time.”
Some books answer a temporary need while others continue to reward readers across generations; the distinction encourages deliberate choices about what deserves sustained attention.
Sesame and Lilies; Ruskin distinguishes temporary reading from books whose value endures beyond their immediate moment.
“Labor without joy is base.”
Ruskin rejects an account of labor that treats ceaseless exertion as sufficient in itself, insisting that a right human life must make room for more than work alone.
Time and Tide by Weare and Tyne, Letter V, “The Corruption of Modern Pleasure—(Covent Garden Pantomime.),” paragraph 21, printed page 16 in Project Gutenberg #31196’s represented Library Edition text. “Labor without joy is base” occurs in Ruskin’s three-part discussion of labor, sorrow and joy and remains Victorian Christian-moral / social argument rather than a modern occupational-health or psychological rule.
